Leaderboard

I wanted to show how the Iscorama 36 delivers when fitted to a fast 50mm on full frame. boring imagery I'm afraid due to the size of the sensor the field of view obtained here is very close to that which you would expect from a 35mm focal length anamorphic on 4perf 35mm film. A 35mm anamorphic lens is considered wide, and anything beyond that is considered a 'special effects' type lens as far as i am aware. I feel the ability to obtain a wide angle from a anamorphic is a very desirable attribute. A fast wide is the holy grail. The magic is that despite the fact that we are getting a little fringing on leaves (characteristics of the 50mm lens when wide open), the results at f1.4 (t1.5) are astounding when you consider the width of frame and the control of dof possible on this combo. to me I think this is the benchmark the new bunch of single focus options should be compared against. -can they deliver this field of view/dof combination? nearly what you;d expect from a motion picture 35mm anamorphic from the likes of panavision. -can they deliver the above without adding CA or softening at f1.4? -can they do this on a full frame sensor? -can they do this without adding vignette? -can they provide this without the need for additional support? -ultimately, can the new options improve on the Iscorama when the above criterion are met? This is not a poke at the new units, but a personal opinion of my own which i feel needs to be considered. For example since the SLR magic anamorphot arrived not a single user has really put it through any challenging tasks and as such, we are now seeing many appearing on ebay due to what i imagine is disappointment from users expecting more from it. at the time of launch of the slr magic iscoramas went down in value slightly. of recent i have seen a lot coming up for sale - from people thinking about the new options around the corner? who knows? if we had seen the slr magic tested on a f1.4 prime on full frame we'd have probably seem more obvious oval bokeh, however, will it have been so soft the results are null and void? We need to see these things IMO.

Rich, I use the iscorama with my fujinon 25mm f0.85 wide open without problems :) (this on s16 sensor) I agree regarding focal lengths limits at the wide end. Shooting narrative indoors with a vignette limit worse than the iscorama would be pretty cramped, I struggled to get the shots I wanted at times due to the vignette limits. I often use a century optics wide angle adapter now as suggested by Andy and it works a treat when you need a bit extra. And at 0.85 with diopters there is no problem extreme oval bokeh even on s16.

Wide angle seems multi element, as does the macro element, unfortunately too strong. I threw an old 10+ diopter in and the focus throw seems about right. Terrible blur due to the single element, I assume. I've got some Surplus Shed glass coming in, so I'd rather hold off and play with that until I splurge for a +10 achromat. Anything vintage that is achromatic with that kind of power?

Here's what I think is interesting about this camera. Panasonic is reducing the number of interchangeable lens lines that it has. The GF has gone, there won't be a successor to the G6 or GX7 (if we can believe anything on 43rumors....), so in future it will just be GH and GM. And this cam, the LX100, is the missing midrange cam, which inherits many of the exciting features from the flagship. This is where the GX8 or whatever should have been. And Panasonic is saying to us, how much do you really need to swap lenses around? Do you really enjoy messing around with adaptors, carrying heavy glass around etc etc? Because we're going to offer you the camera and the lens, for the same amount as you would have paid just for the lens, and in a package that is somehow pocketable. It's a kind of test. Is the flexibility of an interchangeable lens system so important to you that you would pass up a deal like this? I was weighing up buying a GH4 and the 12-35 2.8. Now I think I'll just get this.

If you want a h265 player, you can download it here https://github.com/strukturag/vlc-2.1/releases/tag/2.1.4-libde265-3 To encode to h265, first you need is codecs. Here it´s codecs and an app https://www.videolan.org/developers/x265.html We need a better implementation support ASAP

Too soon to ask if the it has a flat picture profile and 4:3 aspect ratio? It would be awesome for anamorphic lenses users.

More fun footage. Didn't do the 3x or 4x of the wides, mainly because of the logistics of safely mounting that much weight to the front of the lens. So here's a build with a different taking lens (43-86mm nikkor, fixed at 86), a different anamorphic adapter (Bell & Howell single focus anamorphic w/ focusing diopters removed [dat flare tho]), and a better PVC housing. Sorta. Actually, the first few clips were before I got the pvc snug, so its free-lensy. Majority of close focus shots were between 1 and 5 feet. The super close shot of the pup at 1:25 was inches away. As requested, pic of the build: The anamorphic adapter is held on by tape, not the strongest connection. Had to cradle the anamorphic block and the taking lens in the same hand just in case they came apart. Even with my other hand handling the wide angle block, I didn't want to risk the stress more glass would've put on the build, so I held off on the additional wide angle adapters. Next time!

So where does the focus take place?

A bit of an ugly camera (just like their phones), but if they can get the tech part of it running smoothly, it could be a good option. I'm curious though what the dynamic range would be like? And if Samsung have cine profiles or even simple tweaks like being sble to turn down the contrast etc? I'm also wondering how long it will take NLEs like Vegas to support h.265, and if other camera companies will start using it too.

Will follow closely the reviews of this camera. Specially one from Andrew, when possible. I was planning to buy the 12-35mm f2.8 to shoot handheld with my GX7, because of the OIS. But as stated previously, this camera have a lens with better specs with OIS AND records 4k for a lower price than the 12-35mm alone. I guess that the 12-35mm f2.8 might have a better optical performance for stills, but probably not a lot for video. Will miss the flip screen, and touchscreen will be missed for stills - but I have better cameras for stills. And to people which wants a single "do it all" camera, it one of the best packages on the market. Very good, Panasonic.

I think that this is a good idea, Rich. I'll throw my B&H into the ring if I can get the math right (and the appropriate wide angle adapter).

As a coincidence, this week I just looked at some of my older shots with the Nikkor 50mm f/1.4 AF-D used as taking lens for Iscorama. A bit of vignetting for sure, but very beautiful performance nonetheless.

Any info on dynamic range and flat picture profiles? Like mentioned above, the sample video made by Samsung looked oversharpened and videoish. I don't give a crap about specs if the IQ isn't up to par. XD

Incidentally, I just watched an in-depth presentation on camera ergonomics (presented by Sony about a year ago) that is worth a look: As a former FS100 owner and frequent C100 user, I think that Sony got it right with the FS7. Not only does the spec sheet check all of the boxes, but the ergonomics looks just about right.

Not sure I follow your plan. Would this enable single focusing or would you still have to double focus?

Tiffen make superb 43mm ND filters so no problems there use them ! http://www.amazon.co.uk/Tiffen-43ND6-Neutral-Density-Filter/dp/B0000AQJAN with ND 2, 4 , 8 and 16 you have it all covered - just stack them when needed

12-35mm f2.8 is made by Panasonic and LX100 has cheap Leica lens.. :blink: :lol:

I too have had a problems with the internal intervalometer as seen in this short video (disgrgard the flicker) I use an external one now, no problems.

well that does the job doesn't ! very nice I want one